A doll manifesting more than one character is a convenient equivalent to having more than one doll. A child, for example, would find it more convenient to carry around one doll than to transport a number of dolls. Yet a child becomes bored with the appearance of one doll, particularly a child skipping about his or her fantasies, so that a multicharacter doll provides relief from becoming bored with any one doll personality or character without the inconvenience of having to transport or store a number of dolls, each having a dirfferent personality or character.
Notwithstanding the expediency of multicharacter dolls as substitutes for pluralities of dolls, the popularity of multicharacter dolls is tracable to their stability for teaching and story telling. A single multiple personality or multicharacter doll provides a stage of actors, rather than a single actor, for carrying out a multicharacter plot. A multicharacter doll provides perspective for teaching about a number of character or personality traits which are evinced by facial expression or by clothing. Also, a multicharacter doll provides perspective for teaching about a number of cultures identified by the appearance and costuming of characters from those cultures. Again, convenience proves to be the significant advantage, so that the number of characters can exceed the number of teachers or story tellers without a teacher or story teller having to delay the flow of discourse by putting down one character to pick up another.